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Boston-based Post War Triangle, and other bands like them, have made revolutionizing noise seem like an actual art. At once immediate and powerful, innovative and daring, these artists paint while they drum, creating unique, genre-defying sounds.
But don’t get it twisted, we’re not positing that the band is essential or even interesting – it’s just that they do things in the right way. They seem unafraid to be overly loud and too quick at times, even too quick to be powerful, but if you’re making music as a pursuit of power, you’re doing it wrong, because you won’t be having the impact you want. Instead, they revel in actually getting your attention, no matter how short lived. This is the band’s second album after a six year hiatus and the first without founding member Greg Hughes.
“The Bay” has shifted to an all-acoustic, almost haunted setting, capturing ghosts of the folk-rock of the ’60s. There’s a melancholy air to this album, and none of the energy in “State of Grace,” in which the band seemed to be on a mission to destroy. Instead, they sound like someone seeking inspiration, recognizing their inevitable failure to reach for anything better, and preparing to take the path of least resistance.
Thad Budnik’s guitar sports a heavy, aged tone, which is reminiscent of the Descendents, at least that’s the impression it creates to those familiar with them. It’s a strong element in “Swimming with the Chi of Glaciation” and “You’ll Leave,” which has some Surging, upbeat momentum, but somewhat lacks a dominant set of colors. “Blue Stocking” and “Turning Worms” are the most infectious tracks here, with a hooky vibe that gives their subject matter an upbeat feeling. “Blue Stocking” literally paints a picture of life as a work of art. The vocals are good, the musicianship is professional, but it’s a studio album, and those are better imitations of the real thing than anything recorded on stage. The one song that captures
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